Marshall. Slash. AmpliTube. The three Kings of Tone join forces in the Custom Shop

[Amberience]

Well in that case Peter, please model more Orange amps

Specifically the Rockerverb 100watt MKI and MKII heads, because the 50-watt gets too splatty in the power section, not enough headroom for the tones I want.

Also more Marshalls please; not too keen on these Slash ones personally. Bit too classic rock for my tastes.

[ObiWonder]

These are some cool suggestions, you can also do feature requests on the IK Forums for our whole team to see! We definitely look forward to the new models we have to bring!

[Peter - IK Multimedia]

Since it would be designed for messing around, nobody should complain that it doesn't sound like 'so and so amp model'. Although I do bet that there's bound to be a few people who would try to make a custom amp of something like the Fender Deluxe Reverb... then bitching about how it doesn't sound like the real thing, unwilling to use the accurately modeled version there

More likely bitching that it sounds like s**t. We took a risk with the dual movable microphones, though, so there are already quite a few opportunities to make it sound like crap.

[davidka]

Yes, dual microphones open a lot of doors to make it sound overly fizzy and cr*p. But there are some sweet spot settings/techniques which should be taught on the manual. I personally found 2 of the many.

I copy my "feature request" to the IK forums, then, including Kontrast13's reply.

[Amberience]

Part of the issue with the dual microphone thing is that the default mix level is 50% between the microphones, which often sounds phasey and way too bassy. First thing I do when I use AT is I go to the cab section, and I set it up to just use ONE microphone, I also pull back the microphone from the centre of the cap slightly, to avoid some fizz.

For the next version of Amplitude, it would be killer if you could adjust the angle of the microphone, so you could do things like the Fredman technique - although I'm not convinced impulses would sound particularly good for this, you'd need to do some other type of cabinet emulation.

Also a common studio technique is to feed some pink noise through the guitar amp, invert the phase of one microphone, and move it around until the combination of the two microphones sounds really harsh, thin, and fizzy as all hell.... then invert the phase again and hey presto, you've got two microphones in phase.

I noticed though that it doesn't work too good with AT3, as the best position is often the same position as the other microphone, which wouldn't happen in real life. It also defeats the purpose of doing it, because you end up with two tones that sound near identical.

What you get when you do it in the real world is two tones that sound really different due to the microphone differences, and the positional differences, but that are still phase coherent. So I'm not too sure what AT3 is doing when you move around those microphones, but it doesn't seem true to life to me.

[Kaboom75]

I ended up buying all of Slash's Amplitube gear still need the Phase 90. What Compressor pedal does he use. Runing out of stomp slots :(

How close to the real thing do you guys think the stomp boxes are?

[Hink]

what would be proper for any sim with dual mics if you want it to be real world is to simply make AT a multi-out plug. (if this can already be done I apologize) As many know I recently just modded my iso cab and part of that was adding a second mic, each mic is recorded on it's own track. That's why I want two mics, I can re-amp and do this all day but unfortunately neither one of my ESP guitars have given me ESP so I cannot get an idea of how the two will sound and of course when I am playing I want the 'sweet spot" sound while not being stuck with it. FWIW as is well known I monitor through fx and record dry, I only run one mic through fx while monitoring (the truth is the only fx I monitor through is only delay or reverb).

I find it odd that nobody else has ever brought this up but if I have a zillion tracks why should I blend two mics on one track? That just defeats the whole purpose of two or more mics imho.

[Brian @ IK Multimedia]

I ended up buying all of Slash's Amplitube gear still need the Phase 90. What Compressor pedal does he use. Runing out of stomp slots

How close to the real thing do you guys think the stomp boxes are?

Slash doesn't use a compressor pedal. He has a tube compressor in his rack though.

[Brian @ IK Multimedia]

Hink, I like the multi-out idea. Definitely something I will drop in the AmpliTube 4 suggestion box. Not saying that we're even thinking about AT4 yet... just that we definitely won't have any major redesign like that in AmpliTube 3.

Right now you can pan mics hard left and hard right, and then send each side to its own group channel in your DAW. It's something I used to do fairly regularly, myself.

[Hink]

Hi Brian, that's a great suggestion and I'll give it a try

[Peter - IK Multimedia]

Hi Brian, that's a great suggestion and I'll give it a try

He beat me to it, so kudos to Brian and I have to agree that I also think multi-out is a fantastic idea. Thank you.

[Hink]

even I have a good idea from time to time

[Peter - IK Multimedia]

even I have a good idea from time to time

When you aren't burning Les Pauls like witches!

[metalifuxx]

How about a real effects loop section, which the signal path gets nestled after the preamp, but before the power amp, or maybe after the amp, but before the cabinet. Certainly that would make things more realistic, even though you can add rack effects post speaker cabinet, but most amateur non-pro gigging guitarists don't have that luxury. Certainly there is a different sound when this occurs, especially for modulation based effects, and also delays/reverbs. To add that T-Rex Replica delay into the loop (or even rack), post amp's preamp gain would be killer.

[AudioGuy720]

How about a real effects loop section, which the signal path gets nestled after the preamp, but before the power amp, or maybe after the amp, but before the cabinet. Certainly that would make things more realistic, even though you can add rack effects post speaker cabinet, but most amateur non-pro gigging guitarists don't have that luxury. Certainly there is a different sound when this occurs, especially for modulation based effects, and also delays/reverbs. To add that T-Rex Replica delay into the loop (or even rack), post amp's preamp gain would be killer.

Yum! This idea sounds tasty...